INTRODUCTIONS The Now and the Has Been:
Paradoxes of Live Art in History – Amelia Jones Then Again –
Adrian Heathfield THEORIES AND HISTORIES
Introduction
Amelia Jones Chapter 1: The Performativity of Performance
Documentation – Philip Auslander Chapter 2: Dead Mannequin
Walking: Fluxus and the Politics of Reception – Hannah B Higgins
Chapter 3: The Viral Ontology of Performance – Christopher
Bedford Chapter 4: Can Photographs Make It So? Repeated
Outbreaks of VALIE EXPORT’s Genital Panic Since 1969 – Mechtild
Widrich Chapter 5: Macular Degeneration: Some Peculiar
Aspects of Performance Art Documentation – Mónica Mayer
Chapter 6: History and Precariousness: In Search of a Performative
Historiography – Eleonora Fabião Chapter 7: Performance
Remains – Rebecca Schneider Chapter 8: Not as Before, but
Simply: Again – André Lepecki Chapter 9: The Prosthetic
Present Tense: Documenting Chinese Time-based Art – Meiling Cheng
Chapter 10: Progressive Striptease – Sven Lutticken
Chapter 11: Repetition: A Skin which Unravels – Jane Blocker
Chapter 12: Art in the Age of Biopolitics: From Artwork to Art
Documentation 209 – Boris Groys Chapter 13: The Interstices
of History – Angela Harutyunyan et al. An Unofficial
Timeline of Socialist and Post-Socialist Performance – Angela
Harutyunyan et al. DOCUMENTS
Introduction
Adrian Heathfield Chapter 14: A Text on 20 years with 66
footnotes – Tim Etchells Chapter 15: Faith Wilding, Waiting
and Wait-With Chapter 16: Lynn Hershman and/as Roberta
Breitmore Chapter 17: We Are Formatted Memories –
Orlan Chapter 18: Franko B and Kamal Ackarie, Don’t Leave Me
This Way Chapter 19: Make Me Stop Smoking – Rabih Mroué
Chapter 20: The Personal Evolution of the Performance Object
(Or, What to Do with Leftovers) – Nao Bustamante Chapter 20:
The Personal Evolution of the Performance Object (Or, What to Do
with Leftovers) – Nao Bustamante Chapter 21: Cai Yuan and
J.J. Xi, Mad For Real Chapter 22: Hayley Newman,
MiniFlux Chapter 23: Daniel Joseph Martinez, Call Me
Ishmael or The Fully Enlightened Earth Radiates Disaster
Triumphant Chapter 24: Multiple Journeys: A
Performance Chronology – Guillermo Gómez-Peña Chapter 25:
Attending to Anthony McCall’s Long Film For Ambient Light – Lucas
Ihlein Chapter 26: ReCut Project – Ming-Yuen S. Ma
Chapter 27: Assuming a Migrant Woman’s Identity – Tanja Ostojic
Chapter 28: Barbara Smith, Intimations of Immortality
Chapter 29: Santiago Sierra and the “Contexts” of
History Chapter 30: Reconstruction2 – Janez Janša
Chapter 31: Documents of Chinese Time-based Art: Three
Impressions from Three Fragments – Meiling Cheng Chapter 32:
Both Sitting Duet and Cheap Lecture – Jonathan Burrows and Matteo
Fargion Chapter 33: Aftermath: The Performance /
Installation Nexus – Blair French Timeline of Ideas: Live
Art in (Art) History, A Primarily European-US-based Trajectory of
Debates and Exhibitions Relating to Performance Documentation and
Re-enactments – Amelia Jones DIALOGUES
Introduction
Adrian Heathfield Chapter 34: Interior Squirrel and the
Vicissitudes of History – Carolee Schneemann and Amelia Jones
Chapter 35: I Just Go in Life – Tehching Hsieh and Adrian
Heathfield Chapter 36: The Maybe: Modes of Performance and
the “Live” – Tilda Swinton and Joanna Scanlan Chapter 37:
Photography as a Performative Act – Shezad Dawood and Amelia Jones
Chapter 38: Do it Again, Do it Again (Turn Around, Go Back)
– Iain Forsyth and Jane Pollard, with Andrew Renton Chapter
39: Touching Remains – Janine Antoni and Adrian Heathfield
Chapter 40: Perverse Martyrologies – Ron Athey and Dominic Johnson
Chapter 41: The Live Artist as Archaeologist – Marina
Abramovic and Amelia Jones Chapter 42: Every House Has a
Door – Lin Hixson and Matthew Goulish Chapter 43:
Alliterations – Mathilde Monnier and Jean-Luc Nancy
Introduction and Translation: Noémie Solomon Chapter 44:
Intangibles – Hugo Glendinning, Adrian Heathfield, and Tim Etchells
Amelia Jones is an art historian, curator, and theorist. She is the author of several books, including Seeing Differently: A History and Theory of Identification and the Visual Arts. Adrian Heathfield is a writer and curator. His previous books include Live: Art and Performance and Out of Now. He is Professor of Performance and Visual Culture at the University of Roehampton, London.
'A work of art can never be produced the same way twice. ... this concern ... continues to provoke a multitude of questions and opinions regarding how works should be documented and re-created. ... [Jones and Heathfield] address these concerns in relation to performance art, body art, and live art; simultaneously, they construct a history of these broad artistic fields.' – Caylin Smith, Moving Image Archive News 'The breadth and depth of Perform, Repeat, Record are astonishing and the range of artists, scholars and insights invigorating ... It leaves me overwhelmed.' – Caroline Wake, RealTime Arts 'An impressive collaboration between two of the field's most dedicated scholars.' – Lisa Newman, Artillery 'This is a weighty text in all senses of the term' – New Theatre Quarterly, Chris Gilligan 'In its exhaustive presentation of different types of performances, documentation, and critical approaches, it suggests a way of reading performance that is no longer beholden to modernist notions of transgression, transformation, and the avant-garde.' – A Journal of Performance and Art, Jennie Klein '“[A] broad and thoughtful investigation of how the history of performative art should be documented and studied….The book covers a particularly international scope, with essays devoted to performance art in the U.S., Western Europe, South America, China, the Middle East, Australia, and the Soviet Union, including a timeline of Soviet and Post-Soviet performance and another of performance historiography–that is, surveys and re-performances. The final section records eleven conversations between scholars and performance artists, including Carolee Schneemann, Tehching Hsieh, Ron Athey, Janine Antoni and Marina Abromavic…. The book will be very useful for scholars of performance and can serve as an introduction to the history and questions around the field for performance artists themselves.”' – The Drama Review, Pannill Camp 'The collection offers a wealth of research on previously little researched work.' – Drama and Performance Studies 'Taken as a whole, then, 'Perform, Repeat, Record' embraces the mammoth task of challenging how history making occurs within this field of contemporary art. Embracing a diverse and unconventional range of responses to the provocation ‘How does live art get remembered?’, it has implications for the broader field of historical discourse' – Limina, Janet Carter 'A valuable sourcebook and toolbox' – Theatre Journal, Marie Pecorari '[A] broad and thoughtful investigation of how the history of performative art should be documented and studied….The book covers a particularly international scope, with essays devoted to performance art in the U.S., Western Europe, South America, China, the Middle East, Australia, and the Soviet Union, including a timeline of Soviet and Post-Soviet performance and another of performance historiography–that is, surveys and re-performances. The final section records eleven conversations between scholars and performance artists, including Carolee Schneemann, Tehching Hsieh, Ron Athey, Janine Antoni and Marina Abromavic…. The book will be very useful for scholars of performance and can serve as an introduction to the history and questions around the field for performance artists themselves.' – Artblog, Andrea Kirsh
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